DOCUMENTATION (0-4 points)

• 0:No documentation.
• 1:Identifies title of piece, composer if known and date (as specific as possible). If original music, gives time period that the piece characterizes.
• 2:As above, plus country or region of origin. If original music, specifies country or region which it characterizes.
• 3:As above plus identification of musical form (i.e., pavanne, air, canon).
• 4:All of the above and at least one copy of score is provided for the judges.

• 0:Piece performed is not original and not period; if original, the piece does not resemble a period style/form.
• 1:Piece shows several non-period elements (i.e., modern harmony/melody/rhythm).
• 2:Piece shows few non-period elements.
• 3:No non-period elements in the piece itself, but the style or use of instrumentation is inappropriate (Ex., using a soprano recorder and a trumpet in a duet).
• 4:No obvious non-period elements in the piece itself or in the instrumentation.

Solo

• 1:Wind -- Very easy melody; range less than an octave; few rhythmic values.
  String -- Very easy piece; no double stops, if bowed.
  
• 2:Wind -- Easy melody with a little more rhythmic variety or some leaps.
  String -- Easy piece or one with a slow meter, but a little more rhythmic or chordal activity.
  
• 3:Wind -- Melody of over an octave and/or demonstrating more rhythmic variety and leaps.
  String -- Piece combines several rhythmic values; larger and/or more frequent chords; more than one left hand position required.
  
• 4:Wind -- More complex rhythms and/or difficult melodic shape; little or no syncopation required, but careful attention to rhythm is needed.
  String -- Same, but more chords may be added or more left-handed movement.
  
• 5:Wind -- Some ornamentation (trills, etc.) either written or improvised OR a more demanding/syncopated rhythm or awkward or large melodic leaps.
  String -- Same, but more chords may be added or more left-handed movement.
  

• 1:**Two or more players will automatically receive at least 2 points**
• 2:Very easy duets; simple melody plus chordal accompaniment; very little rhythmic variety.
• 3:Easy duet; range of an octave in each part; no complex rhythms or excessive leaps. (Ex: "Greensleeves" 2-part.)
• 4:More difficult duet which requires more attention to coordination of rhythm -- contrapuntal; OR more difficult melodic lines, some leaps.
• 5:More difficult duet or a very easy trio. (Ex: "Greensleeves" 3-part.)

• 0:Does not succeed in any of the 4 areas.
• 1:Handles 1 area reasonably well.
• 2:Handles 2 areas reasonably well.
• 3:Demonstrates proficiency in one area, competency in at least 2 others.
• 4:Demonstrates proficiency in two areas, competency in at least 2 others.
• 5:Demonstrates proficiency in three areas, competency in the fourth area.

• 1:Intonation: A good sense of pitch. With stringed instruments, keeping the strings well tuned; with wind instruments, maintaining good embouchure -- a clean accurate pitch.
• 2:Tone: Defined as sound or timbre pleasing to the ear. The words associated with this term might be "evenness" and "direction". In ensemble playing, the coordination of individual sounds in order to make an effective blend should be highly considered. Also, balance of parts should come under the heading. No one instrument should stick out overly much. Vibrato should not be used if inappropriate to the period or style of the music.
• 3:Rhythmic Integrity: "Integrity" applies to a sensitivity to the main pulse of the music. Too much rushing and slowing down will tend to distract from good communication of the music and is quite noticeable. Ensembles particularly need to pay attention to rhythm in order to maintain cohesiveness.
• 4:Musicianship: Sensitivity to all aspects of execution in order to make an effective musical result: phrasing, dynamics (good sense of loud and soft singing), good attack. Anything that will convey a sense of security in the performance and will not distract the listener. This should portray the performer's mental preparation of the music Has the performer thought carefully of how the music should be done?

• 1:No original or adaptive elements.
• 2:Incorrect adaptations.
• 3:Some modification but no innovation.
• 4:Some innovation (composition of a new text from a pre-existing, period melody).
• 5:Much innovation (the setting of a period text to original music or the setting of a one-part song for two or more voice parts).
• 6:Use of an original song (music and text) that the performer has written in a period style.

NOTE: Additional points may/should be given for: Addition of ornamentation; Use of facial or other physical motions to convey the performer's interpretation of the piece to the audience; Use of percussion or other instrumental accompaniment; Creative use of instrumentation in ensemble; Transposition of piece into new key; Some musical adaptations have been made (i.e., music arranging); Creative use of musical devices through phrasing, dynamics, tempo, etc.; Attention to "periodness", especially instrument construction or adaptation; original composition or embellishment; instrumentation; physical setup (dress or livery, stand construction, seating, music manuscript or folder, etc.).

QUALITY (1-6 points) (Concerns the listener's overall impressions of the performance.)

• 0:Cannot complete the piece.
• 1:Awkward performance; performer would rather be anywhere else.
• 2:Performer seems bored, uninspired; performer lacks confidence.
• 3:Performance is self-assured, but unconvincing (martial air is not inspiring, love song is not lovely, etc.).
• 4:Attempt is made to make the singing style suitable to the text; successful to some extent.
• 5:Average performance; performance style is basically appropriate to the text and the style/form of the composition.
• 6:The setting and style are appropriate; the performer "gets into" the piece; the audience enjoys the performance.

DOCUMENTATION (0-4 points)

• 0:No documentation.
• 1:Identifies title of piece, composer if known and date (as specific as possible). If original music, gives time period that the piece characterizes.
• 2:As above, plus country or region of origin. If original music, specifies country or region which it characterizes.
• 3:As above plus identification of musical form (i.e., pavanne, air, canon).
• 4:All of the above and at least one copy of score is provided for the judges.

• 0:Piece performed is not original and not period; if original, the piece does not resemble a period style/form.
• 1:Piece shows several non-period elements (i.e., modern harmony/melody/rhythm).
• 2:Piece shows few non-period elements.
• 3:No non-period elements in the piece itself, but the style or use of instrumentation is inappropriate (Ex., using a soprano recorder and a trumpet in a duet).
• 4:No obvious non-period elements in the piece itself or in the instrumentation.

Solo

• 1:Wind -- Very easy melody; range less than an octave; few rhythmic values.
  String -- Very easy piece; no double stops, if bowed.
  
• 2:Wind -- Easy melody with a little more rhythmic variety or some leaps.
  String -- Easy piece or one with a slow meter, but a little more rhythmic or chordal activity.
  
• 3:Wind -- Melody of over an octave and/or demonstrating more rhythmic variety and leaps.
  String -- Piece combines several rhythmic values; larger and/or more frequent chords; more than one left hand position required.
  
• 4:Wind -- More complex rhythms and/or difficult melodic shape; little or no syncopation required, but careful attention to rhythm is needed.
  String -- Same, but more chords may be added or more left-handed movement.
  
• 5:Wind -- Some ornamentation (trills, etc.) either written or improvised OR a more demanding/syncopated rhythm or awkward or large melodic leaps.
  String -- Same, but more chords may be added or more left-handed movement.
  

• 1:**Two or more players will automatically receive at least 2 points**
• 2:Very easy duets; simple melody plus chordal accompaniment; very little rhythmic variety.
• 3:Easy duet; range of an octave in each part; no complex rhythms or excessive leaps. (Ex: "Greensleeves" 2-part.)
• 4:More difficult duet which requires more attention to coordination of rhythm -- contrapuntal; OR more difficult melodic lines, some leaps.
• 5:More difficult duet or a very easy trio. (Ex: "Greensleeves" 3-part.)

• 0:Does not succeed in any of the 4 areas.
• 1:Handles 1 area reasonably well.
• 2:Handles 2 areas reasonably well.
• 3:Demonstrates proficiency in one area, competency in at least 2 others.
• 4:Demonstrates proficiency in two areas, competency in at least 2 others.
• 5:Demonstrates proficiency in three areas, competency in the fourth area.

• 1:Intonation: A good sense of pitch. With stringed instruments, keeping the strings well tuned; with wind instruments, maintaining good embouchure -- a clean accurate pitch.
• 2:Tone: Defined as sound or timbre pleasing to the ear. The words associated with this term might be "evenness" and "direction". In ensemble playing, the coordination of individual sounds in order to make an effective blend should be highly considered. Also, balance of parts should come under the heading. No one instrument should stick out overly much. Vibrato should not be used if inappropriate to the period or style of the music.
• 3:Rhythmic Integrity: "Integrity" applies to a sensitivity to the main pulse of the music. Too much rushing and slowing down will tend to distract from good communication of the music and is quite noticeable. Ensembles particularly need to pay attention to rhythm in order to maintain cohesiveness.
• 4:Musicianship: Sensitivity to all aspects of execution in order to make an effective musical result: phrasing, dynamics (good sense of loud and soft singing), good attack. Anything that will convey a sense of security in the performance and will not distract the listener. This should portray the performer's mental preparation of the music Has the performer thought carefully of how the music should be done?

• 1:No original or adaptive elements or incorrect adaptations.
• 2:Some innovation (Ex: composition of a new text from a pre-existing, period melody).
• 3:Much innovation (Ex: the setting of a period text to original music or the setting of a one-part song for two or more voice parts).
• 4:Use of an original song (music and text) that the performer has written in a period style.

NOTE: Additional points may/should be given for: Addition of ornamentation; Use of facial or other physical motions to convey the performer's interpretation of the piece to the audience; Use of percussion or other instrumental accompaniment; Creative use of instrumentation in ensemble; Transposition of piece into new key; Some musical adaptations have been made (i.e., music arranging); Creative use of musical devices through phrasing, dynamics, tempo, etc.; Attention to "periodness", especially instrument construction or adaptation; original composition or embellishment; instrumentation; physical setup (dress or livery, stand construction, seating, music manuscript or folder, etc.).

QUALITY (1-8 points) (Concerns the listener's overall impressions of the performance.)

• 1:Awkward performance; performer would rather be anywhere else.
• 2:Performer seems bored, uninspired; performer lacks confidence.
• 3:Performance is self-assured, but unconvincing (martial air is not inspiring, love song is not lovely, etc.).
• 4:Attempt is made to make the singing style suitable to the text; successful to some extent.
• 5:Average performance; performance style is basically appropriate to the text and the style/form of the composition.
• 6:Average performance; performance style is basically appropriate to the text and the style/form of the composition.
• 7:The setting and style are appropriate; the performer "gets into" the piece; the audience enjoys the performance.
• 8:The setting and style are appropriate; the performer "gets into" the piece; the audience enjoys the performance.

Music written out of period (Ex. by an SCA member) in completely authentic style is acceptable for purposes of performance

DOCUMENTATION (0-4 points) Consider music, medium and performance practice as they relate to period, style, form, national/regional characteristics, sacred or secular application, use of ornamentation, diminution, embellishment, etc.

• 0:No documentation or very inaccurate documentation.
• 1:Minimum information (composer, dates, place, copy of music).
• 2:Same as #1 plus minimal period information from limited or general sources.
• 3:#2 plus a developed commentary and use of critical references.
• 4:#3 plus developed commentary in all areas. Explains original research and/or experiment. Explains deviations or variations from period norms.

• 0:Music out of period (or non-period style).
• 1:Music period; medium or style modern without adaptations to imitate period.
• 2:Music period; medium or style modern with adaptations to imitate period (Ex. keyed flute for recorder or transverse flute, appropriate muting of trombone for sackbut, baroque recorder for Renaissance recorder).
• 3:Music and medium or style both period.(tolerance of Baroque instruments is suggested: Ex. trombone, recorder, single key flute).
• 4:#3 plus special attention to visual and physical considerations (Ex. critical source transcribed into or performed from original manuscript or print, OR modern critical source transcribed into period notational form; attention to physical details such as dress, music stand, etc.)

• The music as written.
• Instrumental techniques attempted.
• Scope of endeavor (length, number in group, number of elements combined).

• Technique (articulation, rhythmic accuracy, fluency, flexibility, bowing and plucking, etc.).
• Tone quality, intonation, pitch, blend and balance, etc.
• Musical effect (phrasing and melodic sensitivity, artistry, expressive and musical feeling, etc.).
• Interpretation (style, tempo, phrasing, dynamic contrast, etc.).
• Other: stage presence, posture, showmanship, etc.

• 0:No original or adaptive elements OR incorrect adaptations.
• 1:Some modification but no innovation.
• 2:Attention to "periodness" of at least two of elements (a) through (d) above, with innovative use of at least one.
• 3:#2 with special concern for all elements listed, with innovative use of at least two.
• 4:#3 with innovative or original attention to all aspects.

QUALITY (1-6 points)

Evaluate the work as a whole. NOTE: This category is subjective; however, the judge should take into account prior category scores, aesthetic appeal, presentation, intuitive response, and other such items not previously addressed.